Alan Cristea Gallery, 43 Pall Mall, St. James's, London SW1Y 5JG
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Light, so yielding it lies beyond our sense of touch, leaves its trace by an absence: expanses of white are produced by what has been cut away from the imprinting block. Review by Kevin Brazil
Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN
This year’s Jerwood/FVU Awards sees Maeve Brennan and Imran Perretta engage with the theme of ‘Unintended Consequences’ by considering, in very different ways, the complex nexus of vision, knowledge and representation. Review by Anya Smirnova
Turf Projects, 46-47 Trinity Court, Whitgift Centre, Croydon CR0 1UQ
Calling you with rhythmic drums, panting and narration, the final room goes further to uncover the genesis of Bryony Gillard’s conflict within 'A cap, like water, transparent, fluid yet with definite body'. Review by Sophie Risner
FOLD Gallery, 158 New Cavendish St, London W1W 6YW
Dominant in Thomas Bang’s exhibition of recent work at FOLD, where eight sculptures as upright as paintings are pinned to the walls, is a concern with how sculpture relates to its supports. In fixing all the works to the gallery walls he questions the distinction between those two most traditional of media: painting and sculpture. Review by Samuel Glanville
kurimanzutto, Gobernador Rafael Rebollar 94, San Miguel Chapultepec I Secc, 11850 Ciudad de México, CDMX, Mexico
Whilst firmly rooted in the irreverent humour of Britain, Sarah Lucas: DAME ZERO, currently on view at kurimanzutto, Mexico City, is able to securely locate itself within (as if emerging from) the context of Mexico. Review by Elliott Burns
Exeter Phoenix, Gandy St, Exeter EX4 3LS
In South Korean artist Young In Hong’s solo exhibition at the Exeter Phoenix, The Moon’s Trick, themes of censorship, authorship, and reinterpretation with a focus on Korea’s own cultural and historical struggle with similar issues are explored. Named after a Soo-Young Kim poem, Hong’s exhibition refers to the vortex created by a spinning top which poet Kim once watched and felt let him exist in a different sphere from our world and gave him a new level of perception. Review by James McColl
Serpentine Sackler Gallery, West Carriage Drive, London W2 2AR
‘Typhoon coming on’ is the first solo presentation of Sondra Perry’s work in Europe. For those unfamiliar with the artist, one may find themselves swimming against the purple ocean waves projected across the gallery walls in search of Sondra – in search of healing that feeling of uncertainty in an art gallery, amplified by the disorientating, dizzying, environment we’ve found ourselves trying to navigate. Review by Cairo Clarke
Modern Art, 50-58 Vyner Street, London E2 9DQ
Rothschild's sculptures tantalise us with scripted hints while continually resisting meaning. Clues across titles make it tempting to consider the passion, rejection and sensuality of human relationships as much as how sculptures might relate to one another and to us. Review by Jillian Knipe
The Power Plant, 231 Queens Quay W, Toronto, ON M5J 2G8, Canada
Amid the celebrations of Canada’s 150th birthday last year, there prevailed an anxiety surrounding its colonial origins, and the efforts to reconcile past and continuing mistreatment of its indigenous groups with its modern national identity. It’s within this context that French artist Kader Attia stages his first major exhibition in the country, Fields of Emotion at the Power Plant, Toronto. Presenting a series of works dealing with political and individual traumas, Attia traces a thread of genealogies and histories which offset sanitized narratives and explores the lingering impact of atrocities left unaddressed or disavowed. Review by Alec Kerr
Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS
Internet Giants: Masters of the Universe at Birmingham's Ikon Gallery is a timely mediation on how dominant technology behemoths, like Facebook, have completely reshaped our cultural and social landscape. Teasing out these complexities through new sculptural and digital works, artists Langlands & Bell question if the opulent mega campuses of Apple and Google will define our age. Review by Jack Welsh
Cubitt, 8 Angel Mews, London N1 9HH
The video works layer lurid cartoons, psychedelic narratives and deadpan rap music; they are accompanied by production drawings and a sculpture. Edmée Lepercq reviews Hardeep Pandhal's solo exhibition at Cubitt.
Assembly Point, 49 Staffordshire Street, London SE15 5TJ
The city is striated into manifold ordered grids that similarly control our movements. The Nevada desert on the other hand, one of the locations Lilah Fowler explored for her show at Assembly Point, has no such boundaries and borders – it has an order more in common with a modulating weather system than any Cartesian geometry. Review by Matthew Turner
Modern Art Oxford, 30 Pembroke St, Oxford OX1 1BP
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Upon entering the upper gallery of Modern Art Oxford, there is something slightly reminiscent of an art foundation course exhibition in 'The Family in Disorder: Truth or Dare' (2018), an installation of 'exploded' materials, as if students had been asked to explore those materials, languages, and meanings, resulting in a rather haphazard assemblage. Review by Paul Black
Zabludowicz Collection, 176 Prince of Wales Rd, Belsize Park, London NW5 3PT
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Hazel Brill’s new video installation ‘Woke Up in Spring’ presents a compendium of media and cultural references that build up a layered picaresque of the artist’s exploration of her environment. Review by Piers Masterson
